Comic Book Reviews for This Week: 1/10/2024

Welcome to this week in comic book reviews! The staff have come together to read and review nearly everything that released today. It isn’t totally comprehensive, but it includes just about everything from DC and Marvel with the important books from the likes of Image, Boom, IDW, Dark Horse, Dynamite, and more.

The review blurbs you’ll find contained herein are typically supplemented in part by longform individual reviews for significant issues. This week that includes Ultimate Spider-Man #1, Fables #161, and Acid Chimp vs. Business Dog #1.

Also, in case you were curious, our ratings are simple: we give a whole or half number out of five; that’s it! If you’d like to check out our previous reviews, they are all available here.

DC #1

ACTION COMICS #1061

Jason Aaron’s run on Action Comics kicks off this week by bringing Bizarro to Earth and, in the process, giving Superman a major problem that he won’t be able to use just his might to solve. While overall the story is a fun read that does justice to the various characters (and has some great action sequences thanks to John Timms’ art), it is weighed down by a plot that Superman fans will easily recognize. There’s a sense of “been there, done that” as the story sees Bizarro once again trying to turn Metropolis into a version his homeworld – something we’ve seen a few times in various stories with Bizarro (on the page and otherwise). That said, there are some new elements—magic, for example—and it feels like a bit of a new twist on things. After the previous run, this feels like a downgrade, but in terms of being fun, it is a good, if forumlaic, start. — Nicole Drum

Rating: 3.5 out of 5

BATMAN VS. ROBIN #5

While I wish the pacing of the issue was a bit better—it feels a little too slow and lags at times—story wise, there is quite a bit in this issue that very much works. Bruce and Damian both get some individual time to shine and with Damian ultimately driving the investigation into his hunch that his principal is also Shush and someone from his own past. Williamson does a great job of fleshing out that father-son bond and while there are moments that feel a little out of character for Bruce/Batman, it very generally works and offers up a bit of dimension to the character. However, I’m not sold on the art here. Nikola Čižmešija isn’t a bad artist by any stretch, but it just doesn’t feel like the style works well with the overall tone of the issue. — Nicole Drum

Rating: 3.5 out of 5

FABLES #161

[READ THE FULL REVIEW HERE]

Fables #161 and its predecessor are reminiscent of Fables’ peak, when the series was both unpredictable and poignant. In just a handful of issues, Willingham and longtime collaborator Mark Buckingham advanced the characterization of Bigby and Snow’s cubs, along with Cinderella and the new Jack in the Green, pushing the latter character into the fray and setting her up for a big role in the finale. Even Tink, the seemingly all-powerful enforcer to Peter Pan, is set up as a tragic figure, continuing a long history of Fables characters being more than they first appear. — Christian Hoffer

Rating: 4.5 out of 5

GREEN LANTERN #7

Green Lantern jumps into the past in issue #7 and answers a host of major questions in the process. Writer Jeremy Adams picks up on several intriguing threads that directly affect Hal but also Sinestro, Kilowog, and the rest of the Corps, and that’s all before that big cliffhanger on the very last page. This issue puts quite a bit of Hal’s current outlook and status quo into perspective, but also tugs at the heartstrings with a heroic final bow from a Lantern favorite. That fight hits hard thanks to the stellar work of artist Amancay Nahuelpan and colorist Romulo Fajardo Jr, though the team also shines anytime Hal and Sinestro occupy the same room. Their work on Kilowog and Hal is especially praiseworthy, though praise is also due for the latest chapter of “Wayward Son.” It’s rather impressive just how quickly Peter J. Tomasi has built up the story’s lead in Korg, and David LaFuente and Tamra Bonvillain’s gorgeous artwork imbues every scene with such emotion and personality that it’s difficult not to be completely swept up in the adventure. It’s also extremely successful as a pilot for Sinister Sons, and that comic book can’t get here soon enough. Pick this up ASAP. — Matthew Aguilar

Rating: 4.5 out of 5

OUTSIDERS #3

On paper, it might seem bizarre to do a sort of “bottle episode” issue only three installments into your series, but Outsiders utilizes it to be a surreal and largely-satisfying look at its two protagonists. Collin Kelly and Jackson Lanzing’s script is equally fast-paced and poignant, getting weird in some cool and meaningful ways. Robert Carey’s art accents that mindset wholeheartedly, especially as the issue only gets more bizarre. — Jenna Anderson

Rating: 4 out of 5

SPEED FORCE #3

Speed Force is an undeniably modern, frenetic ensemble piece for some of DC’s oft-forgotten heroes. While the youthful exuberance of this issue does create a sense of narrative chaos, there’s enough that is interesting or endearing about what is being presented to keep you invested. Jarrett Williams’ script does a decent job of balancing an ever-growing number of cameos with some earnest moments for Wallace and Avery, and the quartet of artists deliver some quirky and largely-seamless art. — Jenna Anderson

Rating: 3 out of 5

TITANS: BEAST WORLD #4

Beast World remains a solid outing for DC Comics in its roster of crossovers. Taylor has such an in-depth knowledge of this super hero universe that he is able to seamlessly use characters, old and new, when it comes to weaving a story that, on paper, sounds a little ridiculous. Ultimately, the biggest knock against the series is its art change ups, not to necessarily say that Meyer isn’t doing a good job here, but for a giant crossover mini-series, it might work ultimately better to only have one penciler handling artistic duties. The big death at the end of the issue feels earned and it will be interesting to see how this plays out in the remainder of Beast World and the DC universe as a whole. — Evan Valentine

Rating: 4 out of 5

WESLEY DODDS: THE SANDMAN #4

Robert Venditti, Riley Rossmo, and Ivan Plascencia have struck on something special with this run on Wesley Dodds: Sandman. Despite issue #4 opening with a dream sequence, so often a crutch of incapable writers, Rossmo’s airy linework and creative layouts, paired with Plascencia’s punchy colors, keep the reader as enthralled as Dodds himself. Venditti has also impressed with how he’s managed to draw a connection between Dodds’ gas weapons and the horrors of chemical warfare without it feeling cheap, and challenging Dodds’ pacifist philosophy without casting it aside in favor of something easier. Wesley Dodds: The Sandman remains one of the most exciting and impeccably crafted superhero comics being published. — Jamie Lovett

Rating: 4 out of 5

Marvel #1

THE AVENGERS #9

The Avengers’ bout with the Twilight Court comes to a roaring halt in The Avengers #9. With the Twilight Court written as even matches with each of Earth’s Mightiest Heroes, MacKay’s script is forced to do the one thing that could end such a tussle. It’s all too predictable, which is a shame for an entire issue that takes place over the span of a single fight. — Adam Barnhardt

Rating: 3.5 out of 5

BLADE #7

If a reader were to jump directly between Blade #6 and Blade #8, they’d never notice missing Blade #7. A guest appearance by the Hulk from a guest artist does neither addition to the series any favors. Contrasted with artist Elena Casagrande, it’s apparent that Valentina Pinti lacks the style and attention to detail that has made Blade an aesthetic pleasure. However, their contributions are perfectly serviceable and relay the issue’s concepts as much as they exist. Despite multiple expository sequences, readers will lack a clear conception of both the Hulk’s updated status quo (one well worth following in the pages of Incredible Hulk) or the possession-based new villain. Dialogue elides the lack of clear solution for a problem introduced solely to drive this collision between two supernaturally-influenced superheroes, which robs the climactic sequence of any tension or stakes. Blade #7 arrives as a detour that’s forgotten as easily as if the series had taken a month off. — Chase Magnett

Rating: 2 out of 5

CAPTAIN MARVEL #4

Captain Marvel has been moving all the pieces into place over its first three issues, but issue #4 ditches the setup and hits the gas pedal. Much of the series to this point has hinged on the developing chemistry between Carol and Yuna, but their evolving relationship hits its stride in Captain Marvel #4. Writer Alyssa Wong has established who they are as core personalities and now can have fun with exploring how they contrast with one another, utilizing the swapping mechanic to highlight their individual characteristics while also keeping the story moving. The implementation of Doctor Strange and Clea has also paid dividends, but it’s really Yuna who shines brightest, and that only makes the final page that much more unexpected. Artist Jan Bazaldua and colorists Bryan Valenza and Carlos Lopez hit hard with vivid colors and unexpected brawls, and the ever-shifting enemy keeps readers on their heels until the very end. Captain Marvel has found its rhythm, and things should only get better from here. — Matthew Aguilar

Rating: 4 out of 5

DAREDEVIL: GANG WAR #2

Daredevil: Gang War #2 takes what was introduced in issue #1 and adds nothing. The mysterious assassin confronting Elektra is still a mystery (albeit one with an easily guessed identity) and a new encounter with The Heat exists seemingly just to keep the wheels spinning. Elektra summarizes her recent changes in captions that contribute nothing to the story at hand over action sequences that can’t justify themselves purely on artistic merit. With seemingly little connection to the outcomes of “Gang War” and nothing to add from an already humdrum debut, Daredevil: Gang War #2 seems to exist purely for those who have to collect every issue featuring the name Daredevil. It’ll be best forgotten in those long boxes, too. — Chase Magnett

Rating: 1.5 out of 5

GIANT-SIZE SPIDER-MAN #1

Marvel’s Giant-Size celebration kicks off with the next issue of Cody Ziglar and Iban Coello’s Miles Morales story. The issue is a funny romp featuring Miles teaming up with, and then fight, Venom. Ziglar gets the voice of Miles arguably more than anyone in comics today, and Coello’s kinetic linework provides for some tasty action pieces. — Adam Barnhardt

Rating: 4 out of 5

LUKE CAGE: GANG WAR #3

What more is there to say about the trainwreck that is Luke Cage: Gang War? Issue #3 invents new problems bound to tear readers right out of the story, as much as there is a story, to no benefit whatsoever. The “Gang War” concept itself is undermined by a story focused on battling giant robots that don’t fit into the street-level battles spread across other titles in any way. Luke Cage is regularly shown to teleport between ground level and 100 feet in height to box them in the jaw, as soon as the miniseries abandons the new alter ego it squandered so much space developing and explaining in issue #1. Guest stars appear out of nowhere and disappear just as quickly; what’s more is they never resemble themselves, like when Jessica Jones complains she was busy making dinner for her family when called to action. When the final page (finally) arrives and introduces an entirely new concept for Cage to return to action, it reads like the disjointed ramblings of a superhero brainstorm more than anything resembling a story. The only takeaway from Luke Cage: Gang War is that the hero for hire would have been better served left in his mayoral office during “Gang War” and off the page altogether. — Chase Magnett

Rating: 1 out of 5

MIGUEL O’HARA: SPIDER-MAN 2099 #2

Steve Orlando has been fantastic with his 2099 universe and that good run continues here. Miguel just fighting a different monster in each issue is a great way to give readers fun characters while also allowing Spider-Man to explore the strange world around him. Dracula, the featured villain here, is definitely a more classic take on the character, which makes him a unique fit with 2099. Both his ideals and overall style juxtapose the future featured in the rest of the book, helping to set up a wonderful clash. — Charlie Ridgely

Rating: 4 out of 5

MILES MORALES: SPIDER-MAN #15

Marvel’s “Gang War” event has been an unexpected but incredibly pleasant surprise thus far, and while Miles Morales: Spider-Man #15 isn’t as critical to that storyline as other tie-ins, it’s still quite excellent on its own. The issue is still firmly set during the “Gang War” event and does involve Hobgoblin staking out territory, but much of the story and emotional pull of the issue is tied to Miles and his baggage with Rabble. Writer Cody Ziglar utilizes the surrounding events effectively to build up Miles’ nemesis and create a sense of danger around her, and then contrasts that with the utterly delightful new look Team Spidey of Starling, Shift, Scorpion, Gust, and Ms. Marvel. Speaking of Team Spidey, artists Federico Vicentini and Federica Mancin and colorist Bryan Valenza make Team Spidey look out of this world throughout the entire issue, and that goes ten fold for Shift and Scorpion. That said, their work on Rabble rivals both, and the upcoming throwdown should be a sight to behold. Team Spidey is on a roll, and hopefully it isn’t stopping anytime soon. — Matthew Aguilar

Rating: 4 out of 5

RISE OF THE POWERS OF X #1

It’s apparent that Fall of the House of X and Rise of the Powers of X won’t have the same interlacing narrative and quality as their inspiration in House of X and Powers of X, and that’s to this series’ benefit. Rise of the Powers of X #1 is much more closely linked to its source material as it presents multiple timelines and grand sci-fi concepts in a beautifully rendered series of sequences from R.B. Silva. Amidst a slew of big moments (including about a half dozen notable deaths) the debut issue adheres closely to the narrative concepts that launched the era. Nimrod’s absurd humor remains a highlight and the inclusion of timelines and dominions reveals new facets to concepts, rather than simply reiterating them, albeit with less clarity and a lot more continuity required. The staging throughout Rise of the Powers of X #1 suggests this miniseries has the style and substance to offer a potentially satisfying ending, than the slog-like and ill-defined battle against Orchis presents. The final few pages finally define the conflict and it seems that there’s still something worth anticipating even as the curtain closes. — Chase Magnett

Rating: 3.5 out of 5

Marvel #2

THE SENSATIONAL SHE-HULK #4

Sensational She-Hulk eschews the past few issues of superheroics in favor of stakes more personal and incredibly delightful. Jen’s standing as a superhero, and her dynamic with characters like Jack of Hearts and Patsy Walker, evolves in some meaningful and slice-of-life ways through Rainbow Rowell’s script, before ending on a plot twist that has tons of potential. Ig Guara’s art fits into the “house style” of the series pretty well, all while making some distinct choices regarding panel layout and fashion design. Unsurprisingly, Sensational She-Hulk is continuing to knock it out of the park. — Jenna Anderson

Rating: 4.5 out of 5

THE SENTRY #2

The Sentry #2 continues to unweave the web connecting Marvel’s two new Sentries to one another with quick wit. As the occult makes its way into the equation, the series will have fans guessing what’s to come as they await the story’s next installment. — Megan Peters

Rating: 3 out of 5

SPIDER-GWEN: SMASH #2

With the bulk of the set-up already in place, Spider-Gwen: Smash writer Melissa Flores gets the chance to have some fun with the narrative and push things into fun places. There is some repetition that seems like it will define the entire series which is tedious to read, but the essence of the characters is intact. Series artist Enid Balám has better work in issue #2 than the first, delivering action beats that are clear but letting his style really define the story itself with its quieter, character-focused moments. It’s an improvement for sure but one that seems like it’s for die hard fans only. — Spencer Perry

Rating: 3 out of 5

STAR WARS #42

Coming out of the “Dark Droids” event, Luke Skywalker returns to try to uncover the secrets of a kyber crystal that had been corrupted by the Sith, which inserts him into the crystal itself in a bizarre and hypnotic journey. The issue teases that Luke will be trapped in the crystal forever, and while we know that’s not true and this undercuts the stakes of the adventure, it feels like such a relief compared to the event that preceded it, as this one chapter teases a more compelling blend of superficial excitement with more mystical elements than anything in “Dark Droids.” What the future holds for this arc is yet to be seen, so while its storytelling potential could be squandered within the next month, this chapter at least sets the stage for some weird and wild Star Wars adventures that have been missing from the pages of comic books for quite some time. — Patrick Cavanaugh

Rating: 4 out of 5

STAR WARS: THE MANDALORIAN SEASON 2 #8

In order to rescue Grogu, Din Djarin enlists the help of Bo-Katan, Boba Fett, and Cara Dune to invade Moff Gideon’s ship, but that’s only when their trouble begins, as they must fend off all variety of trooper to rescue the burgeoning Force-wielder. I think this conclusion to season two of the storyline will be met with mixed reactions from readers, though whether it succeeds or falters is based on the issue’s narrative momentum. While the episode that issue is based on was longer than other chapters of the live-action series, this issue has the same page length as previous installments, which heightens the intensity of the story and the pace at which the events unfold. I’m of the mind that, while assuredly quicker, the pacing works in the adventure’s favor, especially the book’s reveal of a fan-favorite character in its final pages. Other readers are sure to be frustrated by the matter-of-factness of the exciting reveal that took social media by storm when the event actually occurred. This season two adaptation of The Mandalorian feels like more of a success than the adaptation of the first season, thanks in large part to the urgency of the series being superior to that previous adaptation, offering an experience that falls much more in line with what the concept should be as opposed to reveling in the moments that feel more like fan service. — Patrick Cavanaugh

Rating: 4 out of 5

THUNDERBOLTS #2

The one-and-done approach to this new Thunderbolts leaves much of issue #2 half-baked as Bucky assaults a meeting of villains at the Hellfire Club to heist Red Skull’s wealth from a C-list figure with plenty of potential. The hows and whys of the heist are largely ignored in favor of the pacing, quickly introducing and abandoning elements to move ahead. Readers are kindly asked to ignore why notable Avengers would be allowed to traipse into such a gathering or how Bucky can so efficiently battle dozens of villains (as there’s not even sufficient space for the artwork to convey this) just to arrive at the issue’s ending. But with so many convenient dodges embedded into the story, it’s difficult to feel like any of this excitement is earned in an underwhelming second mission that had all the makings of a much better superhero comic. — Chase Magnett

Rating: 2 out of 5

ULTIMATE SPIDER-MAN #1

[READ THE FULL REVIEW HERE]

I think two things are true about modern Marvel Comics more than almost anything else: 1. When the company allows Jonathan Hickman to carry out his plans unabated, more often than not he’s going to deliver something that will stand the test of time and 2. Marvel Comics as a publishing entity are in their best possible position when Spider-Man comics are most accessible to readers. All due respect to the many writers that have put their stamp on the character over the past two decades, but when the Webslinger is easy for anyone to pick up and read—to enjoy without the frills of anything else in the line—Marvel thrives creatively. Jonathan Hickman and Marco Checchetto have given Marvel the chance to let both of these things be true at the same time in Ultimate Spider-Man #1; so please Marvel, for the sake of your readers and your characters, let them cook. — Spencer Perry

Rating: 5 out of 5

WOLVERINE #41

The first installment in the new “Sabretooth War” event claims it’ll be “the most violent Wolverine story ever told!” That’s a hell of a claim considering just how gruesome Benjamin Percy’s run has been by itself. But it turns out he (and former Sabretooth writer Victor LaValle, who also gets a writing credit) weren’t bluffing. Between a version of Cyclops having his face ripped to shreds and Fang being turned into a “Happy Birthday” greeting fresh out of the Saw franchise, the gore has clearly been cranked up to 11. But given there have been so many Wolverine vs. Sabretooth stories over the years in numerous mediums, it’s still too early to say what this story will bring beyond graphic violence. We’ll have to wait and see. –– Connor Casey

Rating: 4 out of 5

Other Publishers #1

ABBOTT: 1979 #3

The latest issue of the supernatural reporter is its strongest yet, featuring some fantastic characterization along with amazing art work that might just take your breath away. Ahmed has a great understand of what he’s doing with this story, meanwhile Kivela is able to create some fantastic scenes that are able to work within the comic book medium in ingenious ways. The “ghost rotweiller” for example breaks the barriers of the panels themselves to help hammer home how dangerous it is, which absolutely hits harder than it might have otherwise. Abbott works so well at mixing the mudnane and with the supernatural, and even if you aren’t familiar with the character’s previous mini-series, this is a comic to give a shot. — Evan Valentine

Rating: 4.5 out of 5

ACID CHIMP VS. BUSINESS DOG #1

[READ THE FULL REVIEW HERE]

Crossover comics are interesting things, often bringing together unlikely characters for compelling adventures that offer readers—in an ideal circumstance—the best that the two fandoms have to offer, whether the story is simply fun or thought provoking. When it comes to Acid Chimp vs. Business Dog, there are certainly aspects of that concept in the unexpected crossover between My Bad and Billionaire Island,which sees a superhero parody (My Bad) collide with an economic dystopia (Billionaire Island). Unfortunately, while both premises are independently funny and sharply incisive satires with a lot to say about the world, when you combine them and put their animal stars together, the result is a story that loses its bite. It leaves readers with something that is unfamiliar unless they are a big fan of both series; that winds up feeling as superficial and superfluous as the society they seek to skewer. — Nicole Drum

Rating: 2.5 out of 5

ADVENTUREMAN: GHOST LIGHTS #1

The return of Adventureman to comics store shelves this week is very welcome. Ghost Lights #1 delivers an outstanding reintroduction that provides new and returning readers all they need in the first few pages before delving into a new criminal conspiracy filled with ghosts, old legends, and all sorts of other pulpy tropes. The star of this first issue is the artwork of Rachel and Terry Dodson who provide plenty of spectacle even in the midst of a densely-woven collection of characters and concepts. Multiple spreads provide a sense of Manhattan’s grandeur, both from the city’s streets and far below them. It’s a joyful return to an idea that has always been fun and absolutely delivers on the genre-oriented promise of its title with plenty of adventure for readers to enjoy. — Chase Magnett

Rating: 4 out of 5

THE ASSASSIN’S APPRENTICE II #2

The second chapter in the ongoing Assassin’s Apprentice adaptation actually feels easier to pick up than the first issue for the uninitiated. We get a better understanding of our titular characters and an excellent build-up for the eventual confrontation with a horde of menacing pirates. It’s also not as over-reliant on narration, a trap many novel adaptations fall into. — Connor Casey

Rating: 3 out of 5

BLOOD COMMANDMENT #3

Instead of just exploring how the concepts of vampirism and eternal life play off of one’s humanity, Blood Commandment also dives deep into how they’d affect religion, belief, and faith. And we’re not talking about organized religion as much as individual belief systems, and how these external forces work around the truths you already hold dear. There are lulls here and there, but overall the execution is solid and the ideas are fantastic. — Charlie Ridgely

Rating: 3.5 out of 5

BLOODRIK #2

The most notable thing about Bloodrik is the visuals. While the issue’s story sees Bloodrik following a light he saw on a mountain and it is a, generally, uneventful and, introspective sort of journey in terms of narrative, it is the art and the way the journey is presented that is most interesting. Krahnke uses open space and sparse details to show the journey and its gravity more than tell with words and while I’m not sure how this issue works overall with the larger story that’s being told, there’s something well-crafted and almost meditative about this, especially for what largely feels like the saga of a musclebound warrior. — Nicole Drum

Rating: 3 out of 5

CRAVE #2

Gone are the days of Crave‘s social commentary or psychotic thriller undertone. Instead, readers are treated to one sex scene after the next in Crave #2, which injects little character and zero plot progression in its 20-some pages. If there’s an award for horniest comic of the year, Crave‘s already a frontrunner as it starts to blur the line between art and pornography. — Adam Barnhardt

Rating: 3 out of 5

Other Publishers #2

DARK SPACES: THE HOLLYWOOD SPECIAL #5

Dark Space: The Hollywood Special #5 is a surprisingly brisk read, comprised almost entirely of whatever dream/vision/hallucination is occurring in the town’s mind. However, it runs into similar problems as past issues, where it hasn’t done a good enough job of establishing the lead characters’ histories for the jumble of images and vignettes to mean much. Sure, it doesn’t take much to piece together an understanding from context clues here, but putting these pieces together distracts from actually feeling the impact of what they’re revealing. It’s still an attractive comic to look at, but it feels like this issue needed to accomplish more narratively than what it ultimately managed. — Jamie Lovett

Rating: 3 out of 5

DEEP CUTS #4

Deep Cuts has fallen into a wonderful and heartbreaking rhythm, delivering yet another tale of the music industry. This issue’s particular tragedy is filled with beauty, both in the script from Joe Clark and Kyle Higgins and in the electrifying art from Diego Greco. As this anthology nears its final two issues, I have confidence that it will continue to impress and surprise. — Jenna Anderson

Rating: 4 out of 5

EARTHDIVERS #14

Writer Stephen Graham Jones has true comic writing chops, spinning a series of plates that work together in a unique way and which seem possible only in this kind of medium. Davide Gianfelice does great work with the paneling here, detailing each beat with a clear and concise image even as things get wild and gory. Special shout out to colorist Joana Lafuente who grounds the entire story by giving each era depicted its own tones which manages to keep a consistency in the storytelling. Earthdivers does the thing you want from all good comics, showing you something you will not see anywhere else. — Spencer Perry

Rating: 4 out of 5

FIREFLY: THE FALL GUYS #4

Firefly: The Fall Guys #4 feels like it is retreading old ground as the Serenity crew and the Archambeau Gang continue this endless process of trying to frame and/or kill each other. Meanwhile, the Alliance president and her minions begin punishing the locals for supposedly harboring her assassins, rolling out flamethrowing tanks to set the place ablaze. I know the alliance is meant to be uncaring and oppressive, but this seems like a ham-fisted move from a president who used to be a military leader. You’d think someone who managed to cling to power for this long, despite being this cruel, would at least be clever. Regardless, it all feels flat, telling readers little that they didn’t already know and not being particularly memorable while doing so. — Jamie Lovett

Rating: 2 out of 5

FISHFLIES #4

Fishflies #4 proves this series is something special. Here you have a story loaded with imagery of discomfort and desolation all held together by artwork that barely advances beyond sketches, yet it never fails to grab ahold of the readers’ attention. This small little town almost feels real, were it not for the escaped criminal in the body of a giant bug. — Connor Casey

Rating: 4 out of 5

JAMES BOND 007 #1

James Bond is back and kicking ass in comic book form. Dynamite has launched a new James Bond comics series written by Garth Ennis and illustrated by Ralpha Lobosco. Ennis and Lobosco’s depiction of Bond is that of a cold-hearted killer with an almost detached sociopathy to what he does. He’s less suave and more cheeky, with a quip or a line accompanying every kill, although this still feels like the Bond we’re used to seeing in novel or book form. The plot of the comic involves Bond investigating the disappearance of a cold napalm, able to freeze a person to death and dissipate within seconds, which seems like a very Bond-type plot. Since this is Ennis we’re talking about, there’s also a few mildly deranged images, with the comic leaning into the brutality of Bond rather than depict a state-sanctioned killer as “cool.” A fantastic first issue, a testament to Bond without glorifying imperial Britain. — Christian Hoffer

Rating: 5 out of 5

KAYA #14

Kaya and Jin’s simple rescue mission becomes a lot more complicated in Kaya #14 as they tear across a marvelously intricate new city encountering robot soldiers, rebel forces, and mysterious connections to their own past and prophecy. It would be fair to characterize this issue as a chase sequence, but it’s how Wes Craig utilizes that thrilling sprint from one encounter to the next that makes the issue a wonder to read. Each aspect of their journey offers new facets and details that make the already resplendent setting and lore of Kaya even more colorful. Whether it’s a small encounter with beggars or the revelation of a rebel crew, each turn in their path reveals greater depth. Yet it is never bogged down by the details. Craig paces the issue like a rollercoaster ride set to leave readers gripping and flipping pages, then yearning to return and discover the nuances they may have missed upon first contact. Wherever this story is leading, readers will find themselves anxiously anticipating the arrival of Kaya #15 based upon the outstanding storytelling evidenced across every page of Kaya #14. — Chase Magnett

Rating: 4.5 out of 5

Other Publishers #3

MASTERPIECE #2

As the getting the band together story begins, Masterpiece relies heavily upon familiar tropes with a cast of ill-defined characters. Perhaps the best sequence in the entire issue is posited upon the evolution of heist-oriented archetypes as Masterpiece considers her mysterious past and possible future. There’s little distinction between her missing parents (the criminal masterminds) and her current cohort of ragtag leftovers. They define themselves neatly as “gadgets” or “muscle” but offer little in the way of personality to drive the story ahead. Instead, it’s an emphasis on plot and the summoning of new devices that push things ahead. Masterpiece #2 is a functional comic with a teasing mystery at its heart, but it also does far too little to differentiate itself from too many series tackling the same sorts of tropes. When names like Bendis and Maleev are on the cover, readers ought to expect more. — Chase Magnett

Rating: 2.5 out of 5

MIDLIFE (OR HOW TO HERO AT FIFTY!) #4

Buccellato and Simeone give readers one of the strongest issues of Midlife so far by revealing some hidden layers to the world’s newest superhero. While I had qualms with previous flashbacks in that it felt like more than a little wheel spinning, the flashback this time around is an interesting one is diagnosing the characters themselves and their relationship with one another. The ironic thing is that there’s little to no “superheroing” in this installment and perhaps Midlife is made the better for it. One of the biggest complaints with Midlife is that it doesn’t do enough to bait the hook in terms of making its premise unique, and issue 4 does start heading in a direction where it relishes in some more of its strengths. — Evan Valentine

Rating: 3 out of 5

PETROL HEAD #3

Lord, Petrol Head is fun. I don’t know which storyline to enjoy more – the Cyberpunk meets NASCAR storyline from the past or humanity’s last shot at survival under an oppressive techno-authoritative regime. Thankfully, I don’t have to choose! — Connor Casey

Rating: 4 out of 5

PURR EVIL #4

Purr Evil wants to know what more do you need than some cultish cats and a penchant for trouble. With its latest issue, we dig deeper into the spirit cats keeping the series at pace, and it seems their presence is causing bigger calamities to dot the horizon. So if you are all in with this prophetic kittens, Purr Evil has everything you could want.. — Megan Peters

Rating: 3 out of 5

QUICK STOPS II #2

This is definitely an improvement upon the first issue, as it actually furthers the double-crossing story behind Mooby’s inception, and the sexcapades serve the story’s purpose. It feels more necessary, but it’s still a ton of forced and award dialogue about sex that doesn’t seem to fit the story. None of it fits quite right. It sounds like someone trying to fit in with a younger crowd and sharing exploits from their youth, only to come off as sounding older and more out of touch than they actually are. — Charlie Ridgely

Rating: 2.5 out of 5

THE SACRIFICERS #6

The first story arc of The Sacrificers wraps up the series’ premise and, with any luck, signals more engaging avenues ahead. As the two children serving as its protagonists finally collide, it becomes apparent they are primarily defined by what has happened to them more than anything else. Pigeon’s rage, righteous as it may be, doesn’t reflect the humble boy shuffled along throughout the first five issues. That applies to most of these archetypes struggling to grow into characters on the page as the series establishes a trading places dynamic for its future. A seemingly consequential sequence at its very start is beautifully depicted, even within the high standards already set by Max Fiumara, with elements of warmth and cold playing off one another in engrossing fashion. Yet its significance is shallow beyond its appearance as there’s too little context to understand what is being changed. The Sacrificers is a gorgeously rendered fable playing with familiar themes of power, dominance, and time, but it appears that it will take a long road to provide those ideas and their depiction with the depth they merit. — Chase Magnett

Rating: 3 out of 5

STAR TREK: STRANGE NEW WORLDS – THE SCORPIUS RUN #5

The conclusion to Star Trek: Strange New Worlds – The Scorpius Run pushes the boundaries of believability as it brings its tale in for a landing. Some themes manifest in obvious ways – the competing crews’ vessels are stronger together than they were apart, enough that they can take the fight to the supposedly godlike being running the cruel competition, which raises many, many questions about how ships from cultures that have never met before can be tied together so easily and, if it is this easy to Voltron together spaceships, why not do it more often? There’s also the issue of scale playing against the story’s sense of urgency, with Pelia emphasizing how the Enterprise is barely hanging together on one page before the ship leads the charge into battle on the next. These issues will surely irk technically-minded Star Trek fans, and the art is undeniably busy, but it’s an otherwise enjoyable conclusion to an enjoyable Strange New Worlds adventure. — Jamie Lovett

Rating: 3 out of 5

Other Publishers #4

STARSIGNS #7

The pattern of Starsigns—tragic backstory, brief camaraderie, and then some sort of plot twist—continues in spades in this installment. While Saladin Ahmed’s script works well in that first category, the latter two elements fall into tropes that aren’t as compelling as they could be. When combined with Megan Levens’ slightly-stiff art, the end result ends up being a strike against a largely-delightful series. — Jenna Anderson

Rating: 2.5 out of 5

SUBGENRE #3

Subgenre attempts to put all its cards on the table with its third issue. Not only does it continue to play with the themes of A.I., intellectual property and repeated story structure across various genres, but it places its protagonist V as a member of a particular group responsible for repeated character tropes seen throughout history across various cultures. But a story cannot get buy on being meta alone, nor a rebellion against all things crossover and multiversal. So whether or not Subgenre is “good” or can somehow stick the landing after introducing all these ideas remains to be seen. — Connor Casey

Rating: 3 out of 5

SWAN SONGS #6

Swan Songs #6, unlike the miniseries’ first five issues, binds itself to outside fictions as the anthology format draws to a close, including both writer W. Maxwell Prince’s Ice Cream Man and Shel Silverstein’s Where The Sidewalk Ends. Prince is reunited with Ice Cream Man collaborator Martín Morazzo in a story that would be perfectly situated to that series. With poems and illustrations lovingly crafted after Silverstein’s work (albeit with pitch-black twists), they craft the story of a small family torn apart by mental illness and debt. Prince’s poems don’t possess the same punch as Silverstein’s indelible work, but that ultimately serves this issue’s role as a comic. Although the homage presented in the issue’s first half is effective unto itself, it’s the fashion in which that pattern is broken that is most rewarding. As an entry in Swan Songs, issue #6 seems out of place but as part of Prince and Morazzo’s collected work, referenced in multiple poems, it fits perfectly and finds a final page that manages to draw Swan Songs, Ice Cream Man, and Silverstein’s legacy together splendidly. — Chase Magnett

Rating: 4 out of 5

TEAR US APART #4

Tear Us Apart #4 rushes to its finish in an issue that provides plenty of visual style and action sequences, but regularly relies on shortcuts to arrive at the most impressive panels. Micelli’s depictions of the final showdown between an army of assassins and trio of ragtag escapees is focused on delivering explosive panels. Their use of color and furiously fast linework mark some unforgettable moments, but the staging for those moments and how suddenly they arrive may leave some readers questioning the comic’s pacing and plot. Rushed as it may be, the denouement for three of the four protagonists introduced in Tear Us Apart is clear enough and the final few pages provide sufficient reason to be curious if this title ever reappears for a second miniseries. — Chase Magnett

Rating: 3.5 out of 5

TRANSFORMERS #4

Daniel Warren Johnson is a tour de force cartoonist; that is undeniable when watching him weave the familiar angles and tropes of a Transformers story into one of the most thrilling and moving genre comics on the stands today. The story itself will remain familiar to even those with a superficial understanding of Transformers, but the humanity he imbues upon robotic frames and faces is revelatory. Whether it’s Optimus Prime’s immense responsibilities clashing with his humanitarian virtues or Starscream’s sadistic clawing for power, there’s as much to recognize in the Autobots and Decepticons as the humans they find themselves entangled with. The action sequence in the first half of Transformers #4 features the style of professional wrestling with emotional motives and responses that make it moving beyond the sublime spectacle depicted. So when the action slows down and the Autobots are left to discuss their next steps, the series loses none of its momentum. There’s as much wonder to be discovered in simple scenes of Prime connecting with a young boy as there is in seeing Starscream get whooped. Transformers is a powerful comic book and Daniel Warren Johnson is its undeniable Allspark. — Chase Magnett

Rating: 5 out of 5

USAGI YOJIMBO: ICE AND SNOW #4

There are some issues with the colors in Usagi Yojimbo: Ice and Snow #4—the depth added by the shadows on faces can, at times, render them looking like a cartoonish character when expressing extreme emotions—but otherwise, the only complaint to level is that Stan Sakai’s fight sequences here aren’t quite as amazing as the ones in the previous issue. Usagi and Jei facing each other on a frozen lake as Keiko plays the flute, seemingly oblivious to the nearby carnage, is evocative of the samurai cinema that inspired Usagi’s creation. Usagi and Jei are both compellingly expressive in their struggle, Jei’s vengeful leering and Usagi’s angry grimace both drawing the reader into the conflict. It’s the latest in a long line of Usagi Yojimbo issues that never disappoint. — Jamie Lovett

Rating: 4 out of 5